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File (. Lause B) 3 4 Keep it Simple, Make it Fast! An approach to underground music scenes (vol. 4) Paula Guerra and Thiago Pereira Alberto (eds.) First Published July 2019 by Universidade do Porto. Faculdade de Letras [University of Porto. Faculty of Arts and Humanities] Via Panorâmica, s/n, 4150-564, Porto, PORTUGAL www.letras.up.pt Design: Wasted Rita and Marcelo Baptista Credits illustrations of book’s parts: Esgar Acelerado ISBN 978-989-54179-1-9 All the content presented in texts are solely the responsibility of the authors. The ideas presented do not necessarily represent the opinion of the editors. Attribution CC BY 4.0. International This book is Licensed under a Creative Commons Attribution 4.0. International License (CC BY 4.0). It is allowed to share, redistribute, adapt, remix, transform and build upon the content of this book. The appropriate credit must be given to the authors and editors. More informations: https://creativecommons.org/ licenses/by/4.0 489 10.1 German punk feminist festivals’ gender politics and social space: between identity and anti-identity politics Louise Barrière242 Abstract: Growing out of diverse influences, including for example the Riot Grrrl scene, intersectional feminism and queer movements, punk-feminist festivals associate theory, activism and art, and act as platforms and forums for a multidisciplinary subcultural feminism. This article draws on the study of archives and on participant observation to analyze the ambivalent approach of gender that develops within the punk-feminist festivals network in Germany. I will more precisely demonstrate that, while it is true that there are specific connexions between punk-feminism, queer-feminism and anti-identity politics, it doesn’t necessarily mean that material feminist analyzes and identity politics have completely been forgotten by the new feminist movements of the 2000s. Keywords: Festivals, subculture, feminism, gender policy, identity. 242 University of Lorraine - Le 2L2S - Laboratoire Lorrain de Sciences Sociales. Nancy, France. E-mail: [email protected] 490 1. Introduction As I arrive on the Sunday morning at the Böse & Gemein festival’s networking brunch, that Helen recommended me to attend regarding the fact that I could meet people interested by my research there, and take the line to the food, someone –that I recognize as a member of the organizing team– approaches and gives me a pen and a roll of tape. The person speaks German very fast, maybe too fast for me who just woke up, but I can catch that they propose me to write my name and pronoun on the tape and stick it on my jacket. ‘It’s no mandatory’, they say, ‘Only if you want’. I look at their sweater, the tape says ‘Ulle - Sie*Er’. I take the tools and write ‘Louise – Sie’. Later in the morning, I notice Christina that I already met a few months ago in Berlin, she also has that tape sticked on. I will keep my tape on the whole day, announcing to everyone who would want to know, within the festival space, how to refer to me. (…) As we go back to Helen’s flat at night, after the gigs, it’s raining outside. Even though our way isn’t that long, the text on the tape is washed away the more we go back into the ‘real world’ and walk away of the festival space and its special norms (Field notes, 25th June 2018). Growing out of diverse influences, including for example intersectional feminism and queer movements –as that abstract of my field notes should indicate it– punk-feminist festivals associate theory, activism and art, and develop platforms and forums for a multidisciplinary subcultural feminism. They notably draw on the first Ladyfest that took place in Olympia, Washington (USA) in 2000, itself inspired by the Riot Grrrl Movement that was born at the same place a decade before and whose history has been chronicled by Marion Leonard (2007) or Sara Marcus (2010). No more than three years later, in 2003, three Ladyfests are held in Germany: in Berlin, the capital, Hamburg and Leipzig. At the end of 2018, around 97 punk-feminist festivals had been organized far and wide in the country; 74 of them named “Ladyfest”243. The others nonetheless are still drawing on the same model, with workshops on the daytime, and movie screenings, performances and most of all concerts and parties during the evenings and nights. The topics of the workshops and debates, the subjects of the movies, alongside with the lyrics sung or screamed by some bands on the stage all make gender issues the political guideline of these cultural events, which happen to be intermixed with et enhanced by discussions, analyzes and debates on topics as diverse as racism, ecology, veganism and animal liberation, etc. From now on, most of the academic studies around punk-feminism have 243 These numbers stem from my focused on fanzines (Rosenberg & Garofalo, 1998; Dunn & Farnsworth, 2015) own PhD studies. With the help of and people (Wald, 1998; Downes, 2012; Griffin, 2012; Sharp & Nilan, 2015), and it Ladyfest online database (http:// happened just recently that a few scholars showed interest in Ladyfests and ladyfest.org), the ladyfest wiki, the punk-feminist festivals (Zobl, 2005; O’Shea, 2014; Ommert, 2016). Most of these website Grassrootsfeminism (http:// works though connect punk-feminism with queer-feminism (for example: www.grassrootsfeminism.net), on- line social medias (Facebook, Twitter, Ommert, 2016). This article draws on the study of around 200 archives from the Instagram), fanzines and archives festivals (flyers, programs booklets, manifestos, websites, etc.) and on participant (found at the Youthculture Archives observation during five events (in Mannheim, Saarbrücken, Berlin, Dresden and – Archiv der Jugendkulturen in Karlsruhe) this year. It aims to rethink this association and demonstrate that Berlin), I have collected in a database while it is true that there are specific connection between punk-feminism and the names and main characteristics queer-feminism, it doesn’t mean that material feminist analyzes and identity (dates, place, programs, price of the entrance) of the punk-feminist or politics have completely been forgotten by the new feminist movements of the punk-inspired feminist festivals that 2000s. Then, how do these German punk-feminist festivals build their gender occurred in Germany since 2003. policy? How do they try to create spaces with their own social and gender rules, 491 10.1 German punk feminist festivals’ gender politics and social space: between identity and anti-identity politics considering both gender identity politics based on a materialist understanding, and anti-identity politics influenced by queer theories? In the first part of this article, I will develop the difference and breaking points between materialist feminism -that grew in the 1970s- and queer feminism -of the 1990s. Following the definition of queer given by Kathy Rudy (2000), alongside with the works of Butler and Sedgwick, I will then analyze in a second part the strong development of a queer-feminist basis within punk- feminist festivals, drawing on their refusal of gender binary and their advocacy for sex positivity. Finally, in a third part I will consider the long-term influence of materialist feminism in contemporary punk-feminist movements. I will therefore first regard it in perspective with the concept of subcultural capital developed by Sarah Thornton (1995) and then look at the cultural transfers of women’s defense methods against abuses (See Guerra, 2015). The whole point of the article is to show that punk-feminist festivals aim to become counter- power territories, fighting against both gender and sexual binaries and the specific oppression of women, within the punk scene and beyond. 2. The materialist feminism vs. queer feminism quarrel: Elements of feminism historical and generational context Feminism is often considered divided and covering different political beliefs: its different so-called “waves” are distinguishing generations of activists, each expected to embrace a different theory alongside with a different kind of activism. On the contrary, this presentation aims to show that punk feminist movements borrow elements to both the second wave and materialist feminism, as we call it in France especially, and to queer feminism (which is more likely to spread around the third wave). The terms and theories I employ in this article in their academic sense are not really used in punk- feminist festivals and networks. The activists of this scene never quote Judith Butler nor Christine Dephy, or Colette Guillaumin, et al. But in a certain way, they embrace their thoughts and use them on their own terms, avoiding most of the time the academic jargon. Thus, academic theories are adapted to a subcultural context. Their knowledge spreads in the scene, through zines or through events such as festivals, from activist to activist and is not necessarily linked to an academic context. 2.1. Materialist feminism: reading gender as a social class Before engaging in this article’s main case-study, it is important to define the principal concepts I will be using here. Materialist feminism is an expression that is mostly used in the French context and that first developed in the 1970s, around theorists such as Monique Wittig, Christine Delphy, Colette Guillaumin, Nicole Claude-Mathieu. It refers to a kind of feminism that considers gender as a system defining two classes, creating thus inequalities and opposing men who benefit from the system to women who don’t. Inside of this system men and women constitute two interrelated categories. One cannot exist without the other. These classes of gender are, of course, socially and economically constructed and do not come from “nature”, distinguishing thus materialist feminists from essentialist feminists. While striving against male dominance, 492 materialist feminist have to politically invest the “women” social category to demonstrate their mobilization as an oppressed group and fight for equality, which connects them with “identity politics”.
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